Tuesday, December 4, 2012

Final Blog


Kissing Jessica Stein:

Charles Herman-Wurmfeld did an exceptional job of exposing the true essence of what desire truly is. We want we do not have, rather can not obtain, therefore we search for what we believe we want only to find out that it is not what we truly desired from the beginning.
            Within the film we see a young woman, Jessica, searching for “Mr. Right” and in her pursuit she actually comes across what appears to be “Ms. Right” as Ms. Right was searching for some form of fulfillment of her own. Curiosity, being fueled by desire, led to what we call a “bi-curious” relationship. Neither of the women were truly interested in the idea of lesbianism however, they were interested in finding a satisfaction through each other that could never truly be obtained. The relationship cycle took its course and to no surprise, the relationship came to an end. “Ms. Right” found no satisfaction from plain ole Jessica; she needed excitement and sexual fulfillment while Jessica was searching for emotional companionship. The desirers were caught in the trap of trying to satisfy one’s desire with a lack. Desire is nothing more than the longing for what one does not have.
            Attempting to fulfill desire through the curiosity of sharing a common interest with an individual, later to find out that they are not who you thought of them to be, is a very dangerous endeavor if one is ultimately concerned about protecting their sense of “self.” But what is self?

Kristeva’s “Tales of Love”:

            This was a tough read for me being that it was written from a psychoanalyst. I did however manage to make connections to Zizek, as well as having a few eureka moments of my own.
            “…actually, the feeling, during love, of having had to expend if not give up desires and aspirations, isn’t this in fact the price we must pay for the violence of our passions about other?” This statement completely coincides with Zizek’s point about the foolishness in the pursuit of happiness do to the contradicting suffering that must take place to get there. Kristeva’s claim that “love never dwells in us without burning us” also supports Zizek and reveals the suffering nature of desire. As we discussed last class, Love is fueled by Desire, as it is Desire that needs Love in order to be pursued. It is a confusing concept to grasp, yes. The solution I can give to truly understand such topic is experience.


Love and Desire Thought:

            With the end of the semester approaching, I can truly say that I am more than pleased with the decision I made to apply to take this course. I’ve always longed to discuss deep material such as Love and Desire. Never truly accepting knowing what Love and Desire was truly about, I absorbed every ounce of information concerning this class that could help me understand the matters as well as finding answers to questions based off experiences that I have had and having in my life. Aside from the idea of Desire, as well as Solaris, yes I believe that Solaris can be viewed as a crucial theme within the course, the concept of “self” that we discussed has been my field of interest. Up until the revealing of the concept, I never truly took the time to try and look at my life from the outside in. What do I look like through the eyes of others? This question stays on my mind constantly. It’s not more so me attempting to figure out who I am, rather figuring out who people see me to be.
            And I’m sure I’m not the only one who shares this notion but I am proud to say that I am not and will not be for a very long time ready for a committed relationship. With all I have going on in my life, how could I be prepared to lose myself in another, to suffer for the happiness of my liver, to pursue desires that I’m not really sure I have? Dealing with those things at a later date is perfectly fine with me. When the time comes, I will be ready. As for now, I will continue to grow, change, and figure out this idea of self until I myself am realized through the fulfillment of another.

Tuesday, November 27, 2012

Anna Clark's "Desire" (Ch. 12)

     Within Chapter 12 of Desire, the main topic of discussion is found in what is called "sexual citizenship." This topic caught me by surprise do to the fact that within the Church and government one's natural sexual desires shifted from a innate humane feeling to a revolutionary movement. It is stated that over time, sex has been glorified and blown out of proportion through the media in order to influence generations. In the eyes of the church, it can be concluded that sex is a natural desire, a bond that should be shared between husband and wife to sanctify the unity of marriage and symbolize the divinity of the God head. However, as it is displayed in the media sex is now a "citizenship" and has been liberated in order for freedom of expression to take place. It's not more of the action of sex but the very desires of sexual pleasures that must be taken into account. Therefore, I pose the question, how strong is desire?
     An excerpt from the chapter reads "...They repudiate Lacan's idea that desire was a lack. If we think of desire as lack, we want to plug this whole by acquiring objects, tapped by capitalism. Instead, Deleuze and Guattari wanted revolutionary desire to flow through one person to another in "desiring machines" formed of "great gregarious masses." In revolutionary love, possessive love would disappear and "persons give way to decoded flows of desire, two lines of vibration." Desire was once again perceived as an abstract force detached from the person." 
     If we are to accept this claim made in the prior sentence above that desire was may be viewed as an abstract force detached from the person, what say we then? Are our lives influence/controlled by an outside force in which we have no control? Are our desires not our own? This idea now questions the very thought of desire being a lack but a force, an entity that can not be obtained. With this in mind, the symbolic elements of Celestina come to mind. Was she not the symbol of a force that flowed from person to person while being detached from each person? In the end Celestina died, however her spirit still lived on. So shall we say that desire is not a "lack" per say but a force that can never truly be tangible and in itself there is no satisfaction? By definition, desire is defined as a longing or craving, as for something that brings satisfaction or enjoyment. This definition supports the claim that desire is wanting what we can not have yet it does not express evidence that in itself desire can be perceived as an abstract force detached from the person.
     One thing is certain, no matter how one perceives desire, whether it be a lack or an abstract force, it can never be satisfied and will always be a product of longing for something that neither exists or is achieved.




Tuesday, November 20, 2012

Love Song

Golden; Chrisette Michele


Take me back in the day when loving was pure
Love ain't going away, love is always cure
Life's not always perfect but love's always forever
Let's let true love connect, let's try lasting together

I'm so ready to love, I'm so ready to promise my all
I'm so ready to give to the day that my life is no more
I'll be everything that this woman could possibly be
'Cause I'm ready to be like the olden days
When commitment was golden

Be the man of my dreams and get down on one knee, love
Say you'll be all I need and then ask me to marry you, my love
Let's take two golden bands and let's walk down the isle, love
I'll say I do and you'll say I do, may good God and commitment, oh

I'm so ready to love, I'm so ready to promise my all, all
(Promise my all)
And I'm so ready to give to the day that my life is no more
(My life is no more)

I'll be everything that this woman could possibly be, yes, I will
(Possibly be)
'Cause I'm ready to be like the olden days
When commitment was golden
(Golden)

Let's last forever
Now typical American, shady love
Let's stay together
May God smile upon our everlasting lives

I'm so ready to love, I'm so ready to promise my all, yes, I am
(Promise my all)
I'm so ready to give to the day that my life is no more
(My life is no more)

And I'll be everything that this woman can possibly be, yes, I will
(Possibly be)
'Cause I'm ready to be like the olden days
When commitment was golden
(Golden)

I'm so ready to love, I'm so ready to promise my all, yeah, yeah
(Promise my all)
And I'm so ready to give to the day that my life is no more
(My life is no more)

I'ma be everything that this woman could possibly be
(Possibly be)
'Cause I'm ready to be like the olden days
When commitment was golden
(Golden)

Golden, golden, golden, golden love
Our commitment is golden

        I think that it's safe to say that these words speak for themselves. One might conclude that this poetry is similar to that of Troubador. Growing up, one might say that I was a "hopeless romantic," loving the very idea of a "perfect love." Like many of us I grew up with a fairy tale of how Love should be, a Medieval courtly love if you will, the prince coming to rescue the damsel in distress as they live a life of reverie. Golden encompasses every nuance in such a love. I'm still that hopeless romantic and I still believe in that "fairy tale" love. Fairy tales are nothing more than an ignored reality and Chrisette Michele does an exceptional job of delivering the Hopeless Romantic's Anthem. 

Enjoy.



Tuesday, November 13, 2012

Vargas Llosa's "The Bad Girl" - Week Two

The topic of discussion that I wish to discuss is the Bad Girl's pursuit of Ricardo by telephone. This event perplexes my mind and truly has me wondering about the games/tricks that The Bad Girl plays or is it that her tricks have tricked her? If I understood correctly, from the time of their first interaction, The Bad Girl had no true interest in Ricardo. Ricardo would confess his love time and time again yet The Bad Girl literally treated him like a puppy, announcing that he was "unworthy." Still, Ricardo never lost hope, never lost his will to love (lust) her despite her clear neglect of his feelings and emotions. As the events lead up to the "Pursuit of Ricardo," I question, what happened in the Bad Girl's mind? What caused her to retreat to the one who she was not pursuing? We discover that after the Ricardo finally answers the phone and asks to meet, The Bad Girl appears dressed like a beggar and looks so sick he thinks she's going to die. She eventually faints and he takes her to his apartment and then to the hospital. She claims that she was in prison and they raped her, but he doesn't believe her. If I was Ricardo, I doubt that I would've believed her either but as I look deeper, I find that here is some truth in The Bad Girls claim.

Claim 1: She was in prison.

This claim serves as a metaphor to the emotional prison she was in. Here you have a girl that from the time of her character's introduction, she was not fully characterized. Her character lacks substance, lacks understanding. As seen in Madame Bovary and other sources of reference concerning Desire, she is lacking/empty. I hate to be cliche' but she winds up looking for love in all the wrong places. I retract that and conclude that she wasn't looking for love yet only satisfaction for her burning desire. However, as we all are, she's human. After you search and search for something to exist that doesn't, you lose yourself. There is no sense of connection to reality because for so long a dream was being chased. This can serve as a prison-like construct of the soul.

Claim 2: She was raped.

For a mighty promiscuous woman, the word rape doesn't seem likely to be in her vocabulary. Could you believe that one who enjoys violence would claim to have been assaulted or involved in an involuntary act? The point of the matter is that in a sense, The Bad Girl was raped. Raped in this sense meaning the taking of one's innocence, one's purity. Am I suggesting that The Bad Girl was a pure woman? No. But what I do suggest is that underneath The Bad Girl is a good girl who's been hurting for a while now. And who does one go to when they are in need of healing, the one who showed consistant love over a period of time. Unfortunately, that happened to be Ricardo.

I say unfortunately for Ricardo's case because like most good boy's he falls in the trap of the Super Hero syndrome, a syndrome that I know all too well. Upon their meeting, we see that The Bad Girl appears as a sick beggar who is in dire need. What does Ricardo do? He helps her and tries to restore what innocence she may have had but as it is in her nature, The Bad Girl overpowers the good girl and eventually leaves again to play games of "Love." This is a cycle that is seen all throughout Love in American Culture. The good boy goes after the bad girl, thinking that she is the source of the answer of his problems and later gets burned in the end. Blinded by the image of the romantic couple, the good boy can not see the darkness lurking within this girl. There is no good and there is no chance of a relationship. In reality she is a shadow; in his eyes she is a rose. Oil and water do not flow together. I speak from experience.

Tuesday, November 6, 2012

Vargas Llosa's "The Bad Girl" - Week One

     One cannot write about The Bad Girl without first paying hommage to the prior, Madame Bovary. Is not this novel just a more modernized recreation of the tale of desire and obsession only with a new twist? "The Bad Girl" serves as a young Emma Bovary only with more ambition, drive, and overall fuel for passion. The novel begins with the classic story of a young lover being attracted to what he believed to be a young Chilean girl, whom everyone was in love with. Her grace, her beauty, her dance, her curves, her... blah blah blah, were oh so captivating. Turns out the girl wasn't even who she said she was. Which brings me to my first point, a false sense of reality.
     We,ve learned that our eyes are our biggest detriment in this thing called "love." We become attracted to what we think we see and from there Cupid strikes us and our passioned desire takes over. As read in the text, Ricardo, as well as every other boy in the town, was love struck by Lily. Everything about her made them want her. This obsession was purely originated by what was perceived about this girl. And while they were desiring Lily, she was desiring a life that was fabricated by her own imagination. Now on to the matter of incessant desire.
     Not too far after the Lily's character was introduced was she exposed as a liar, fabricating stories about her life in Chile. What does this tell us? Already the motif created from Ovid's Narcissus is revealed, "...The thing you are seeing does not exist...What you see is only a shadow, image, cast by your imagination..." This reveals that the object of Ricardo's desire and who this mysterious woman, known as "Lily," hopes to be does not exist. As in Madame Bovary, you have a young woman wanting to live a life of high status, a life of societal acceptance, and will do anything to gain it. This desire does not leave Ricardo nor Neo-Emma as they move on in life. As Ricardo is living his dream as an interpreter for Unesco, Neo-Emma becomes "Comrade Arlette," a member of the Cuban revolution. Upon recognition, Ricardo immediately revisits his passionate hopes of having Neo-Emma fulfill his desire. Funny thing is, the girl whom Ricardo described to Neo-Emma, the one he had "fallen in lust with, was no remembered at all. Comrade Arlette denied ever being such girl. Why? The girl never existed. As Ricardo attempts to act upon his desire, Comrade Arlette toys with him; she finds him unworthy of the minimal attention of that is showed to him. One would suggest that Ricardo should just move on and let his childhood crush go but he cannot do such a thing; Cupid's arrow was already heart deep. Ricardo falls in the category of "puppy." Pity.
     As we've learned so far while dealing with desire, an encounter is bound to happen with: false sense of reality, incessant lust, blindness, broken dreams, and a life of unfulfilled satisfaction.
I can't wait to engage in the discussion concerning "The Bad Girl."

Tuesday, October 30, 2012

Soderbergh's "Solaris" and Guadgnino's "I Am Love"

Solaris:
- Soderbergh

     Only a fool desires poison and loves what is not real. Is it poison that one desires or is the desire poisoning? - DP

     Soderbergh's film does a wonder as it explores a very prominent theme in the idea of Love and Desire, hidden desire. Is it not man's dream to have what he desires even if it goes unspoken? And once this desire is achieved, is it really what he wants? This is what the film explores. You take a recently widowed man and put him in an environment that produces what he desires the most, reconnecting with his wife, and what do you get? Human nature. Chris, the protagonist, has failed to let go of the attachment he has for his wife, his hidden desire, and he ultimately loses his life for it, or does he?
     'Solaris' can be symbolized as "fulfilled desire," however, the desire which is fulfilled is nothing more than a replica, a copy, of what one truly wants. It does not exist; it will never exist. For unjustified desire will never find fulfillment. As Chris' replica of Rheya is revealed, it is discovered that she is nothing more than an image. Dr. Gordon, Snow, Gibarian, and even Rheya all try to inform Chris that "the thing you are seeing does not exist: only turn aside and you will lose what you love. What you see is but the shadow, image, cast by your imagination, in itself it is nothing. It comes with you, and lasts while you are there; it will go when you go, if go you can." (Narrator from Narcissus). Chris hears their words but accepts his desire. He can't let go. He does not care that "Rheya" is not real, as long as he can be with something/someone that reminds him of her. Ah, but what does he remember? Rheya's first replica was immediately sent away due to Chris' inability to accept what he sees, although, upon second arrival Chris' desires takes over and he spends his time fighting to believe that one, she is real, and two they can be together. However Rheya's second image tries to commit suicide, why? Because that is how she was remembered. Chris could not accept that he remembered is loving wife wrong. Rheya then begs to be sent back to Solaris due to her acceptance that she is not who Chris wants her to be, and although she felt his love, they could not share a life on earth nor on the space station. She disregards saying that they could not be together on Solaris. Why is this? It's as if she wanted Chris to find her in Solaris.
      As Dr. Gordon has had enough of her own pseudo desires played upon and departs for earth, it appears that Chris makes the decision to stay on the space station and becomes apart of Solaris, where he finds his chance to have his desire so called, "fulfilled." Dead or alive, he does not care. He is content with having what he believe he wants. Chris is forever lost in the pursuit of his desire.
     After analyzing the themes depicted in this film I question, how foolish can one be to hold on to something that tells him that she is not real? How willing is one to give up his own life so that what he desires can be fulfilled? What fuels our passion that we cannot let go? What sense of reality does one have as he indulges in his desire? How can one ignore truth when fiction and reality appear as one?
     

We will always long for forbidden things and desire what is denied us. 
- Froncois Rabelais

I Am Love
- Guagnino

     The more and more that we dive into the theme of Love and Desire, I'm discovering that humanity has no true morality. Being ruled by the flesh, some commit suicide, others adultery, and there's a lack of love toward family, as seen in I Am Love. This movie seems very similar to Madame Bovary. A woman is trapped in a marriage with no passion she has no social freedom except the women in her family, and she needs dreams of living a more fulfilling life. However, the only difference is that now, unlike Madame Bovary, Emma's desires seem to be fulfilled, she appears to find her desire being satisfied in Antonio. Ah another tale of a woman finding completeness in the one who takes her away from her troubles and makes love to her to make her happy. How refreshing. (Please note the sarcasm in the previous sentence. This film kind of irritated me).
     What is striking about this film is that the fuel for Emma's passion is found in her daughter, Betta. Betta leaves her own relationship to find pleasure in her new found lesbian love. Betta's lack of fear in committing her own sin encourages Emma to have the same boldness with Antonio. Emma takes no thought for actions and considers the notion that since Betta's doing it and is happy, so can I. 
     Now, it was suggested in the film that Emma and Antonio's relationship was wrong and I completely agree. Reason being, Emma neglects the respect she should have for her son as Antonio should have for his best friend. How might one feel if their best friend whom they love so much and invest so much effort in, started sleeping with their mother? Tragic I tell you. And to think that after Edo, Emma's son, finds out about this she would forget her desire and tend to her child. Surprisingly, Emma tries to justify her actions to Edo and in turn loses her son. Edo dies from not wanting to be touched by such a horrid woman, slips off a ledge, hits his hed on the concrete, and dies. Some might say that it was the blow to the head that killed Edo but I blame Emma's forbidden desire. And to take it a step further, Emma tells her husband, Tacredi, about her love affair immediately after the funeral for Edo. After realizing that she has no life back at her home, she changes her clothes, gets a reassuring glance from Betta and leaves what life she knew behind.
    I get that she might've been unhappy, I can sympathize that she wanted her desires to be fulfilled, I can even understand being attracted to Antonio, but to have no regard or caution for her actions is where I draw the line. Is there no one else she could've found fulfillment in? Did she have to let Antonio cut her hair? Did she have to give Antonio her "ukha"? (slaps forehead) If you're going to be promiscuous at least have some class about it. And for goodness sake, would it hurt to actually mourn over your son? I don't even think that Emma was genuinely concerned that her son died. She had a brief moment of melancholy and guilt but then runs back to the very thing that caused his death. Now we are not certain that Emma ran back to Antonio but it is definitely suggested in the film.

//

Oh Desire, How cunning you are, how daring, how brave. 

You have no limits on your power and no regard to death. 
No regard to life, your ambitions never rest. 
Lost in you the lovers are, due to your persuasion that your answer is not far.
Fueled by Passion you can fulfill lives or destroy them.
How wise you are to prey on the hearts of men.

Oh Desire, how destructive you are, so blasphemes. I am ashamed. 

- DP 

   

Tuesday, October 23, 2012

Flaubert's "Madame Bovary" - Week Two

The Death of Madame Bovary:

Poisoned by Desire, she suffered in vain.
No hope for satisfaction, her lacking remained.
Filled with dreams of twilight and a heart ever vexed,
The object of her eyes left her in doomed regret.

Blindly seeing a life unreal, reality moves on.
Like water to a dessert, where did she belong?
Complete with everything but wanting nothing,
What could this life offer that was worth her living?

Trapped by the one who glorifies lust,
only Death could remove her from what she could not become.
For one can not elude the shadow of what is not.
Close your eyes fair maiden, have you forgot?

 Madame! Madame! Blind, the beggar was not.

                                                          -DP (Daydreaming Poet)

"We will always long for forbidden things, and desire what is denied us."

     - Froncois Rabelais